Word: rauschenbergs
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Dates: during 1970-1979
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...Senior Writer Robert Hughes does not agree. "The point is to learn more than you knew before," he says, "and I've never met an artist who didn't shed some light on his or her own work." So, in preparing for his appraisal of Artist Robert Rauschenberg-who is not only the subject but also the designer of this week's cover, a collage commissioned by TIME-Hughes spent a week in Captiva, Fla., as a member of Rauschenberg's household. He later accompanied the artist to Washington, D.C., for the installation at the Smithsonian...
...Rauschenberg is immensely outgoing," says Hughes, "just as his art is. His mind works in angular ways, full of ricochets and inventions." Hughes quickly discovered that structured interviews were not the best way to explore Rauschenberg's multifaceted personality and past. The artist supplied his own approach. He took out catalogues containing his extensive collections of art memorabilia and souvenirs; as he turned the pages, he talked. "The art of the '70s," Hughes notes, "is eclectic: video, earthworks, landscape and straight painting are all part of it. Rauschenberg has done an extraordinary number of things with his life...
...just verbal, but visual art-forms stress the unseen. Recently a smudged piece of paper entitled "Drawing by DeKooning erased by Rauschenberg with the artist's permission" sold as a work of art. When idea triumphs over image in this way, the art evades sensory comprehension; we can't reach it through sight, taste, smell, sound or even touch; the only way it can be grasped is with the intellect. The question that should be asked last gets asked first: "What's it all about...
...When Hitler closed the Bauhaus in 1933, Albers came to the U.S., where he meticulously painted geometric patterns, notably squares within squares, and taught his students to see the ways colors interact. "His criticism was so devastating that I wouldn't ask for it," says Pop Painter Robert Rauschenberg, a former student. "But 21 years later, I'm still learning what he taught...
Taken one by one, the remaining essays seem rather thin. Only Brown's essay can fill in their background. Robert Rauschenberg contributes a few clipped comments, refusing to let his years as Cunningham's manager and designer "be short-changed by memory or two-dimensional facts." His words seem flip until Brown's narrative tells how exciting was his time with the company and how sad and little-discussed his leaving. Similarly, former manager Lewis Lloyd's hard-headed opinions on how to run a company sound less obstreperous after Brown details Cunningham's peculiar brand of leadership...